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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘Meer Sahab


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3855 Post No. : 14868

Today’s song is a surprise item. Just when we were ( atleast I was) feeling that all available film songs of Noorjehan are covered in the Blog, I came across this song. As a Bonus, even the complete video of this song was traced by me. For a long time, only a short clip of the song was available, but now you can enjoy the full video too.

The song is from film Lal Haveli-44. The film was made by Bombay Cinetone of K.B.Lal, the producer and director of the film. It seems the finance for this film was provided by one Rooplal Mehra, as per comment made by one of our readers. The film story was by R S Chaudhari, dialogues were written by Agha Jaan Kashmiri and Wajahat Mirza and the screenplay was done by the director K B Lal himself.

The cast of the film consisted of the then popular singing pair Surendra and Noorjehan, supported by Ulhas, Maya Banerjee, Badri prasad, Kanhiayalal, Baby Meena(Meena kumari), Alaknanda, Brijrani and few others. The veteran composer Meer Sahab composed the melodious songs written by Munshi Shams Lucknowi.

Noorjehan ( 21.9.1926 – 23.12.2000 ) had a very short span of career in India- 1942 to 1947, as far as Hindi films are concerned. Her first Hindi film was Khandaan-42 as an adult and the last film was Jugnu-47. She acted in only 15 films during this period. They were Khandan-42, Naukar-43, Naadaan-43, Duhai-43, Lal Haveli and Dost in 44, Zeenat, Gaon ki Gori, Bhaijaan and Badi Maa in 45, Hamjoli, Dil and Anmol Ghadi in 46 and Mirza Sahibaan and Jugnu in 47. In these films, as per one source, she sang just 68 songs. 66 songs of these are already discussed on the Blog. Today’s song will be the 67th song.

As long as Noorjehan was in India, people were mad about her singing. After she left India, people became Nostalgic about her. Many composers used to insist the female singers to sing like Noorjehan ( just like after Saigal, his copies were popular), for quite some time. Over a period of course this influence waned. Out of the many artistes-in different categories of film making- who migrated to Pakistan, no one became as successful as Noorjehan. Not because she was extraordinary, but because there was an aura of fame and awe about her singing.

During 1980,Zia Sarhadi, who too had migrated to Pakistan, visited India. While in Bombay, he was asked ” How is our Noorjehan ?” He replied,” the most successful artiste who came from India was Noorjehan in Pakistan.”
” How is her singing?”
” you call it singing because she is singing, otherwise there is no charm in her singing anymore. Shreiking is what she does now, instead of singing. People in India are nostalgic about her. And why not ? Her best songs finished in India only. What she is doing in Pakistan , I wont call that singing ! ”
These words from a poet who wrote songs for her, like ” Diya jalakar aap bujhaya ” and ” Aaa intezar hai tera “,speak a lot about Norjehan’s singing in Pakistan.( from the book ” From Noorjehan to Lata” by Isak Mujawar).

I am not a fan of Noorjehan. In fact, except Mohd. Rafi, I dont consider any singer ( that includes Lata too) versatile and heart touching singer. Of course this is my personal opinion. Every person has his own likes and dislikes. When the tune is lovely, music is appropriate and Lyrics are meaningful, any song by any singer-in general- can become popular, but when Lyrics are meaningless, music is average and the tune is ordinary, to render a song that will touch your heart makes a singer immortal-like Rafi.

Film Lal Haveli-44 had some less known artistes namely Alaknanda and Brij Rani. Let us know more about them.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 etc . She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.
Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindi films-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made them the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Alas ! Their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. Her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 37 films till late 40s. All three sisters worked together in film Haiwaan-40. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age( Famous dancer Gopi krishna was her son). Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

Film Lal Haveli-44 story was nothing new. It was spun around an old time Thakur- beautiful daughter- cruel creditor etc type story. The story was-

Thakur Ramchand lives in his ancestral Haveli, of which he is very proud. His sister has eloped with an ordinary soldier. He had objected to their love story as the boy was from a lower caste. The soldier dies in war and his sister commits suicide. Thakur is very sad. His daughter Mukta (Noorjehan) is in love with her childhood friend Anand (Surendra). Thakur’s haveli is already mortgaged with seth Laxman singh. When thakur knows about Mukta’s love, he bans Anand from coming to their house, but the lovers meet secretly. Mukta is sent to attend the marriage of the daughter (Maya Banerjee) of Laxman singh. There, Laxman Singh’s son Jawahar (Ulhas) sees Mukta and desires her. On Mukta’s return to Thakur, Laxman singh proposes her marriage with Jawahar in return of his Haveli.
Mukta, to save family pride, agrees to this marriage. Anand is upset and joins Army and goes to the war front. Anand is injured severely. In the meantime Thakur dies and the marriage gets cancelled. Enraged, Jawahar decides to burn the Haveli as a revenge. Anand returns to the village, comes to know this. There is a confrontation of Jawahar and Anand. Finally, Jawahar has a change of heart, seeing the true love of Mukta and Anand and he blesses their marriage with Lal haveli as a Marriage Gift. So, all is well, happy ending.

In today’s video, see Noorjehan, Ulhas, Maya Banerjee, dancing- singing girls and enjoy this melodious song.


Song-Bhaiyya hamaaro jee (Laal Haweli)(1944) Singers-Unknown female voice, Noorjahaan, Lyrics-Shams Lucknowi, MD-Meer Sahab
Chorus

Lyrics

bhaiyyaa humaaro ji ee
bhaiyaa humaaro ji
aayi hain bahne aas lagaaye
aayi hain bahne aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji

haathon mein pahnungi sone ke kangan
haathon mein pahnoongi sone ke kangan
heere kaa pahnoongi haar
haar

heere kaa pahnoongi haar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

pahanoongi main to dhaake ki saadi
pahanoongi main to dhaake ki saadi
bambay kaa gotaa kinaar

bambay kaa gotaa kinaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

na mohe chaahiye kangan naa saadi
na mohe chaahiye kangan naa saadi
naa teraa gotaa kinaar
naa teraa gotaa kinaar
ik bol kehde ae mere bhaiyaa
ik bol kehde ae mere bhaiyaa
pyaar se behna pukaar
pyaar se behna pukaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji
bhaiyaa humaaro ji
aayi hain behnen aas lagaaye
aayi hain bahnen aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3672 Post No. : 14552

Today’s song is from film Jailor-1938, made by Minerva Movietone and directed by Sohrab Modi.

Thousands and thousands of actors, directors and musicians worked in this film industry, since films started. Not all of them are known or remembered by people. 95 % of these people are not remembered today. Most names had no faces. They were in the films without any specific personal identity. 5% names are known to many, but it is the special few names which became permanently etched in the minds of people.

You can ask 10 persons to list out 10 names of film personalities, who gave their major contribution or were famous so much that they can not be forgotten. On checking this list of 100 people, you will find certain names repeated in almost every list. Names like Saigal, Dilip kumar, Dev Anand, Rajkapoor, Ashok kumar and Sohrab Modi are certain to be in all the lists. Their contribution to Hindi cinema is unmatched.

Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.

Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon and Sayeed E Hawas, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times.

Modi’s Minerva Movietone was established in 1936 by Sohrab Modi and his brother Rustom. It emerged from Stage Films, set up in 1935 to film the stage repertoire of Rustom’s group, Arya Subodh Natak Mandali. Renowned for big-budget historicals, the studio benefited from the Modi family’s existing distribution interests in Gwalior, expanded by the third brother, Keki Modi, into Western India Theatres, owning a chain of 27 theatres in 10 cities. Set up the first Technicolor laboratory (1952) with Film Group and made Jhansi Ki Rani (1953). From 1936 to 1960 Minerva made 28 films. A very impressive score indeed. Modi directed 20 of them. In all Modi acted in 32 films and directed 27 films.

In 1937, Modi made a film ‘Atma Tarang”…..which was a disaster at the box office with just 20 persons in the audience. He was devastated and decided to quit making films. After the show, 4 persons from the audience came to him and congratulated him for making this nice film. They wished him all the best for his future films and left. Later Modi came to know that they were Bombay High court judges. This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ).

However, making film Pukar-39 changed his outlook and set his goals for the future’ for Historical films. Pukar-39 was actually shot in real courts and Mughal Palaces to give it authenticity. For his next film Sikander-41, he brought in Prithwiraj Kapoor for the role of Sikander and he himself took the role of Porus. The film employed high values of Costumes and Props of that era. The entire film was , however, shot with only one camera. His third film was Prithvi Vallabh-43, which was an adaptation of K.M.Munshi’s novel. In this film Modi enacted a dangerous stunt scene of being trampled to death by an Elephant.

His last Historical film was “Jhansi ki Rani”-53. he had hired the best Hollywood technicians. it was shot directly on 35 mm film, and was in technicolor. Modi had borrowed real weapons from Defence ministry, for the shootings. His next film ‘ Mirza Ghalib-54’ won President’s Gold medal ( now called the National Awards), to become the First Hindi film to win it. However this and his next film ‘ Nausherwan E Adil’-57 could not save Minerva’s from running into loss. It made only 2 more films- Jailor-58 and Mera Ghar mere bachhe-60, before closing down production.

Sohrab Modi was probably the only film maker in Hindi films, who handled many genres like Historical, religious, musical, Costume, Social, Action, Reformative, War, psycho Analytical etc etc.

Sohrab Modi was born in Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For few years he stayed among Parsi community in Bombay. Sohrab Modi childhood was spent with lot of activities. As he grew up, he displayed more interest in exercise and sports. He was seriously sick several times during his childhood and he had to be hospitalized a few times as well. All that led to his tall but thin physique. Later on he was very active. In school he was an average student, he never got hooked to History subject. Many times teacher complained to his his parents for lagging behind in history subject. His parents left no stones unturned to make him study but it all those efforts went in vain.

But Sohrab was good in sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.

Sohrab Modi only acted as an extra or side role which was not very helpful to him in furthering his career. But Sohrab was bidding for his time looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and made his breakthrough. Soon He earned the reputation as Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people appreciated Sohrab Modi’s acting.

As Sohrab grew up, his personality kept developing. His personality suited the role of king. His portrayal of King in his two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ were additional feathers in his acting cap.

Sheesh Mahal was one of the better movies by Sohrab Modi. It was observed that even blind people were sitting on booked seats. But they put there head down and heard the voice and dialogues of Sohrab Modi. It was for first time in history of cinema that Blind people had tears in there eyes while hearing the dialogues of Sohrab Modi. When one Blind man wasa asked how he enjoyed movie without watching the set up, the Blind man replied that he watched the movie from his heart and heard the dialogues which enabled him to visualise what was going on and so he was able to understand the movie. Ticket Money of these audience were refunded.

In 1976 Sohrab had complained about weakness and headache which were cured by common home remedies and he kept acting in the roles of father and grandfather. Sohrab Modi health kept deteriorating and he had to be hospitalised in 1979 but the true cause of his sickness could not be diagnosed. Sohrab Modi himself never believed that he was sick and he never allowed any Doctor to do any proper diagnosis of his ill health. His common dialogues to doctors were ‘Sher kabi bimar nahi padta Aur agar main bimar Hu to mai jald theek ho jaunga’. His heavy voice was enough to reassure Doctors that all was well and he was discharged within two days.

Soon after completing Razia Sultan, he had started new movie ‘Guru Dakshina’. But unfortunately this film was never completed. In 1981 or 1982 he was again hospitaled. Whole Kapoor Family visited the hospital to convince him to get all checking done. Doctors were 90% sure that Sohrab had cancer since the symptoms of Sohrab indicated that. Sohrab Modi was soon found to have cancer and immediately medications were bought from other countries. His condition led to his frequently hospitalisation. His kept losing weigh. He tried to involved himself to complete his ‘Guru Dakshina’ but his health did not allow him to do that.

On 2nd November 1984, at the age of 86, Sohrab Modi took breathed his last.

Today’s song is “Kaahe Ko Byaahi Bides”. This is a famous song by Amir Khusro. This has been used in several films like, Jhankaar-42, Heer Ranjha-48,Nadir Shah-68,Suhag Raat-48, Maang bharo sajna-80 and Umrao Jaan-2009, in addition to today’s song from film Jailor-38. It is also sung as a NFS by many famous singers. Mostly in films, the original song is mixed with some new lyrics and the credit is given to film’s lyricist. In film Jailor-38 too, the lyricist’s name is given as Kamal Amrohi.

Amir Khusrow ( 1253 to 1325 ) was a Sufi mystic and a spiritual disciple of Nizamuddin Auliya. He lived for 72 years, out of which 60 years he lived in the courts of as many as ten different rulers of the Delhi Sultanate. He was a poet as well as prolific musician. His primary language to write poems was Persian but he composed almost half a million verses in Persian, Turkish, Arabic, Braj Bhasha, Hindavi as well as the Khadi Boli. His Khaliq-e-bari, which is known as oldest printed dictionary of the world deals with Hindi and Persian words. He is regarded as the “father of qawwali”. He is also credited with enriching Indian classical music by introducing Persian and Arabic elements in it, and was the originator of the khayal and tarana styles of music. Khayal later reached to its zenith during the times of Mohammad Shah Rangile and today is integral part of Hindustani classical music. His association with various sultans enabled him to travel and stay in various parts of India and this gave him exposure to various local traditions. This helped him to assimilate diverse musical influences. He was patronized by three Khilji rulers successively.

The singer is Eruch Tarapore. He was a distant relative of Sohrab Modi and he worked only in Modi’s films. he worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
( credits- Cinestaan, Flash back-Isaq Mujawar, Hindi filmon ke geetkar, upperstall.com,MuVyz, HFGK and my notes.)


Song-Kaahe ko byaahi bades(Jailor)(1938) Singers- Eruch Tarapore, Lyrics-Kamal Amrohi, MD-Meer Sahab

Lyrics

kaahe ko byaahi bades
arey sun baabal mora
kaahe ko byaahi bades
arey sun

ham to baabul torey jhaad ki chidiya
ham to baabul torey jhaad ki chidiya
meh barsat udd jaayen re
meh barsat udd jaayen re
baabal mora
kaahe ko byaahi bades

[Ed Note: ‘meh’ = megh, baadal]


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Laal Haweli”(1944) was directed by K B Lal for Bombay Cinetone, Bombay. The movie had Surendra, Noorjahaan, Ulhas, Baby Meena (later known as Meena Kumari), Maya Bannerji, Yaakoob, Kanhaiyalal, Brijrani, Vatsala Kumthekar, Badri Prasad, Ghori, Alaknanda etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Laal Haweli”(1944) was directed by K B Lal for Bombay Cinetone, Bombay. The movie had Surendra, Noorjahaan, Ulhas, Baby Meena (later known as Meena Kumari), Maya Bannerji, Yaakoob, Kanhaiyalal, Brijrani, Vatsala Kumthekar, Badri Prasad, Ghori, Alaknanda etc in it.
Read more on this topic…


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Nightingale Noorjehan -13
———————————-

With this duet ‘Dil Leke Mukar Na Jaana’ from 1944 film ‘Lal Haveli’, all Noorjehan’s songs are covered in this blog.
Read more on this topic…


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Nightingale Noorjehan -12
—————————

Here is a tuneful duet of Noorjehan and Surendra from the 1944 ‘Bombay Cinetone’ film ‘Lal Haveli’. The other duet, by the same pair, from this film, will follow soon on this blog. (Hari ichchha permitting.) Naushad’s Guru Meer Saheb has set the tunes to the simple lyrics of Shams Lakhnavi.
Read more on this topic…


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Nightingale Noorjehan – 11
————————————–

Lal Haveli (1944) was a social film produced by ‘Bombay Cinetone’ and directed by K B Lal. It had Surendra, Noorjehan, Ulhas, Maya Banerjee, Yakub, Brijraani, Vatsala Kumthekar, Badri Prasad, Ghory, Kanhaiyalal, Alaknanda and Baby Meena Kumari in its star cast. Music was set by Meer Saheb to the lyrics of Shams Lakhnavi. Nightingale Noorjehan had two solos and two duets with legendry singer Surendra in this film. One of her solos ‘Banti Nazar Aati Nahi Tadbeer Hamari…’ has been already discussed on this wonderful blog.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Sipahsaalaar”(1936) was directed by J P Advani for Saroj Movietone, Bombay. The movie had Khursheed Bano, Swarooprani, Bibi, Yusuf Effendi, Prabhashankar, Jaani Babu, Balabhai, etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“”Pukaar” (1939) was produced and directed by Sohrab Modi. The movie was about the mughal emperor Jahangeer. The movie had Chandramohan in the title role of Jahangeer with Naseem Bano playing Noorjahaan. The movie also had Sohrab Modi, Sheela, Sardar Akhtar, Sadiq Ali, Jillo, Maya Devi, Shakir, Ghulam Hussain, A B Ramesh, Kusum, Ram Apte, G M Das, Babu Singh etc in it.
Read more on this topic…


“Laal Haweli” (1944) was a Bombay Cinetone movie. It was directed by K B Lall. The movie had Noorjahan, Surendranath, Ulhas, Yakub, Kanaihyalal, Maya Banerjee, Baby Meena etc in it.
Read more on this topic…


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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

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